Відео

Nice haha! It’s great

I’m really glad too, because i think it’s surprising how he’s not discussed as much by the jazz guitar crowd. Thanks for checking it out!

Thanks so much!

Thank you Mitch ❤️

Hey thank you so much. That’s something people have asked me for before actually, for this particular one I don’t have it because I put the video together in logic and it looks like I didn’t save it. For a future upload maybe I could have the transcription play a second time with just the guitar and without the recording.

@@johnmorrisonguitar No problem. I was thinking you could do an unlisted upload if you want to keep your main videos as is... anyway keep it up!

Hey thank you!

That’s great thank you for the kind words. I would say having the association between chord and scale is a huge key. and then seeing how, in chord progressions, there are notes that change from one chord to the next, and notes that are common , and thats what you try to convey in the lines or chords that you improvise. And for jazz, being able to look at a dominant seventh chord as altered, whole tone, diminished, or Lydian dominant is important.. and also seeing how chords that precede the dominants (the 2 in a 2-5) can be interpreted as dominants in you’re improv, or comping. And the tritone sub concept is important. It all gives you more to work with when soloing/comping. Hope this was helpful !

That’s super helpful and definitely gives me a great idea of things to work towards! Thanks for the response! Just to clarify you’re saying you’re trying convey the common tones while also including the actual changing tones? I think a lot of people (myself included) think of things chord to chord separately, I could definitely see how your thought process lends to more connected/voice lead lines, looking forward to working on that!

When it comes to playing lines over changes: the way jazz phrases navigate chord progressions of a jazz standard is by emphasizing the note or notes that change from one chord to the next. That sometimes happens diatonically, or within one scale/key, like these chords, Fmin7 - Bb-7. both are in Ab major, but you can still play a phrase that clearly distinguishes them .. Or on the other hand you'll have two chords that don't come from the same scale, but still have a relationship. so they share many notes but some are going to change, like these chords, Cmaj7 and Fmin7.. in the key of C major, it's the 1 chord and the minor 4. There are notes in Fmin7 that are not in a C major scale, those are what you want to emphasize, or just include, during the F minor chord. And you'll think two different scales for that: C major and F dorian or F melodic minor. But that being said, there's a lot of good stuff to be played without actually doing that all the time. it's kind of a balance. you can make a phrase that doesn't actually outline the harmony work really well, too. Also, emphasizing the common tones between chords can also be a great device for soloing and especially comping. I think what you're saying about "chord to chord" is a better approach for chord progressions that are less diatonically related, and maybe ambiguous as far as key signature, or maybe with a rapidly changing key center (giant steps.) Many standards' harmony stays in one key for many measures, but with 'borrowed chords' and secondary dominants, have added tensions and resolutions. For those progressions, you want to try to learn to think of the harmony in larger chunks of multiple chords, that are related to eachother and to a key center. That makes it so much easier to learn and memorize, and TRANSPOSE tunes.. and to understand the harmony on a deeper level... I could go on and on haha

@@johnmorrisonguitarI feel like that’s such a good explanation! If it interests you I think you should get into teaching if you don’t already, I feel like I haven’t heard many explanations that actually dive into harmony like that, super helpful and I really appreciate you taking the time to explain some of how you think about this stuff, really thanks a ton man!

No stranger! Thank you for saying that I’m so glad it inspires you

Some damn fine playing there. Really enjoyed that.

Thank you 🙏

He’s one of my favorites. Thank you!

Thanks glad you enjoyed it 😊

Thanks so much.

Thanks you !

I don’t sell them. But if you send me an email I will be glad to send you a copy. Guitarmageddon1@gmail.com

I don’t have any backing track for it I’m just playing with the recording. You could find it on UA-cam and slow it down with playback controls

@@alilotfi7974 it’s called “18th Century Ballroom”

@@johnmorrisonguitarcan’t find the head?

Nice! Thanks so much 👍

Thanks man 😊

A lot of practice at it. Understanding theory and chords helps a lot. And its about listening for when notes you’ve transcribed are wrong, if you want it to be accurate, the chromatics in bebop solos are very easy to mistake which chromatic notes are in a line, and those mistakes are easy to miss if you’re not listening carefully. Ive gotten good at hearing when theres just somethjng off in what ive figured out and eventually fixing the note. Thats part of the process with every transcription; catching mistakes and then relearning that part with the right note.

Totally. Thank you!

I want to learn several more solos from that record ✍️🧑‍💻

Glad you enjoyed it! I love the soulfulness of this solo. It sounds like something comes loose in his horn or something in the second chorus but he works with it and unlocks this raw, raspy tone that sounds so good to me . Almost sounds like a guitar

@@johnmorrisonguitar thats deep insight well said!

Hes one of the greatest of the greats. Thanks as usual friend!

Insane

aaand one is higher and one is lower

This was so challenging, especially the last chorus. Imagining how he did it so naturally truly boggles the mind